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Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (or Conjuring the Rolling Thunder Re-vue: A Bob Dylan Story by Martin Scorsese, according to the main title graphic^[1]) is a 2019 American pseudo-documentary film, composed of both fictional and non-fictional material, covering Bob Dylan's 1975 Rolling Thunder Revue concert tour.^[2] Directed by Martin Scorsese, it is the director's second film on Bob Dylan, following 2005's No Direction Home. The bulk of Rolling Thunder Revue is compiled of outtakes from Dylan's 1978 film Renaldo and Clara, which was filmed in conjunction with the tour.

The documentary features contemporary interviews with prominent figures of the tour such as Dylan, Joan Baez, Sam Shepard, Ronee Blakley, Ramblin' Jack Elliott, Roger McGuinn, Ronnie Hawkins, Larry Sloman, Rubin 'Hurricane' Carter, as well as archival interviews with Scarlet Rivera and Allen Ginsberg. It also features fictional interviews of actors portraying characters who were not actually involved in the tour, including Martin Von Haselberg portraying the fictional filmmaker Stefan Van Dorp, Sharon Stone playing a fictionalized version of herself, and Michael Murphy reprising his role as Jack Tanner from the 1988 miniseries Tanner '88. Rolling Thunder Revue does not differentiate between the fictional and factual accounts, and even Dylan himself refers to the fictional characters in his interviews, leaving the audience to guess which parts of the film are authentic and which are fabricated.^[3]

Plot[edit]

The film opens with a modern-day Dylan admitting he doesn't remember anything about the Rolling Thunder Revue, saying it happened so long ago 'I wasn't even born!' He finds it impossible to get to the 'core' of what it was all about because 'it's about nothing.'

As the bicentennial of the country fast approaches, and with the spirit of America particularly bleak after the country's unceremonious exit from Vietnam and the Watergate Scandal, Bob Dylan decides to gather together a group of his friends from the Greenwich Village coffee houses and go on an adventurous tour across New England and parts of Canada. Dubbed the 'Rolling Thunder Revue', the tour is documented by European filmmaker Stefan Van Dorp who seeks to expose the hedonistic attitude of the people surrounding Dylan and juxtapose it against the nihilistic mood of middle-class America.

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Along the way, Larry 'Ratso' Sloman, a reporter sent by Rolling Stone to write about the tour, tries to ingratiate himself into Dylan's inner circle. A young Sharon Stone is put in charge of costumes after being taken to a show by her mother and becomes convinced the song 'Just Like a Woman' was written for her. Dylan starts to wear Whiteface makeup onstage after violinist Scarlet Rivera takes him to see a Kiss concert. Allen Ginsberg tries to refashion himself as a singer/songwriter as the beat poet movement starts falling out of popular relevance. Joan Baez attempts to rekindle her romance with Dylan by singing with him onstage and dressing up in his stage outfit; Dylan visits a Tuscarora Reservation in New York and performs a rendition of 'The Ballad of Ira Hayes'; Joni Mitchell joins the tour midway thru and is inspired to write the song 'Coyote' about the experience. After US House of Representatives member Jack Tanner, a close friend of Jimmy Carter, hears Dylan's new song 'Hurricane', it results in a retrial for Rubin 'Hurricane' Carter which eventually leads to his release from jail.

The tour comes to a stop in Montreal. Van Dorp states the only reason he agreed to be interviewed for this documentary was to stake his claim over the footage from the tour which makes up the bulk of the film. Ginsberg encourages the viewer to follow the example of the performers they've witnessed and go on their own journeys of self-discovery. Bob Dylan continues to tour after the Rolling Thunder Revue, playing over 3,000 shows over the course of 40 years.

Cast[edit]

The interviewees in the film are given character names in the end credits. Some of the people interviewed were part of the Rolling Thunder Revue, some were not, and some are entirely fictional.

• Bob Dylan as himself
• Allen Ginsberg as The Oracle of Delphi
• Patti Smith as The Punk Poet
• Martin Von Haselberg as The Filmmaker. Haselberg plays a character in the movie named Stefan Van Dorp, a European filmmaker who claims to have directed the original footage of the tour for a movie he was making about the spirit of America in the '70s. In reality, the tour footage was directed by Dylan himself for the 1978 film Renaldo and Clara.
• Scarlet Rivera as The Queen of Swords
• Joan Baez as The Balladeer
• Roger McGuinn as The Minstrel
• Larry 'Ratso' Sloman as The Rolling Stone Reporter
• Jim Gianopulos as The Promoter. The story depicts Gianopulos as the promoter of the Rolling Thunder Revue tour, when in reality he was attending law school during the period of time this film is set in.
• Ramblin' Jack Elliott as The Sailor
• Sam Shepard as The Writer
• David Mansfield as The Innocent
• Sharon Stone as The Beauty Queen. Stone claims to have joined up with the tour at the age of 19, helping with the stage costumes, having a brief flirtation with Dylan, and proclaiming that one day she would be a famous movie star. In reality, Stone was 17 when the Rolling Thunder Revue went on tour and she never crossed paths with Dylan or any of his associates. The photos of them together are digital fabrications.
• Ronnie Hawkins as The Shitkicker
• Anne Waldman as The Word Worker
• Ronee Blakley as The Ingénue
• Joni Mitchell as The Artist
• Chief Rolling Thunder as The Medicine Man. Despite the tour being named after him, not part of the Rolling Thunder Revue. Appears only in unrelated interview footage.
• Chief Mad Bear as The Chief
• Peter La Farge as The Cowboy Indian. Not part of the Rolling Thunder Revue. Appears only in unrelated archive footage.
• Michael Murphy as The Politician. Murphy reprises his role as Rep. Jack Tanner from the miniseries Tanner '88. He claims Jimmy Carter got him tickets to see the Rolling Thunder Revue in Niagara Falls. Obviously, since Tanner is a fictional character, this is untrue.
• Rubin 'Hurricane' Carter as The Boxer

Production[edit]

The project came from Dylan's manager, Jeff Rosen, who approached Scorsese with some of the tour's footage shortly after the completion of No Direction Home.^[4] The director instantly agreed to do it but was busy with other films at the time. The bulk of the work was done while he was finishing Silence.^[5] Once again, Rosen took charge of the interviews and gave them to Scorsese.^[3]

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Release[edit]

The film was released by Netflix on June 12, 2019.^[6]Columbia Records also released a box-set album entitled Bob Dylan – The Rolling Thunder Revue: The 1975 Live Recordings to correspond with the release.^[7]

Critical response[edit]

Manohla Dargis of The New York Times says Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese is “at once a celebration and a rescue mission (it draws heavily on restored film footage), as well as another chapter in Scorsese’s decades-long chronicling of Dylan.”^[8] It was also picked as one the 'Best Films of 2019 (so far)', by The New York Times.^[9]

See also[edit]

• The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue (2002)

References[edit]

1. ^Carty, Pat (June 13, 2019). 'Film Review: Rolling Thunder Revue A Bob Dylan Story by Martin Scorsese'. Hotpress. Retrieved June 20, 2019.
2. ^Gleiberman, Owen; Gleiberman, Owen (June 15, 2019). 'Why Did Martin Scorsese Prank His Audience in 'Rolling Thunder Revue'? Even He May Not Know'. Variety. Retrieved June 17, 2019.
3. ^ ^abGreene, Andy. 'A Guide to What's Fake in 'Rolling Thunder Revue: A Bob Dylan Story''. Rolling Stone. Retrieved June 13, 2019.
4. ^'Scorsese on Dylan, Netflix and beating back the blockbuster'. AP NEWS. June 12, 2019. Retrieved November 1, 2019.
5. ^Haddad, Léo (October 2019). 'La dernière tentation du crime : entretien avec le dernier des affranchis (French)'. Première.
6. ^Nordine, Michael (April 25, 2019). 'Netflix Sets Martin Scorsese's Bob Dylan Doc for June, Plus Oscar-Qualifying Theatrical Run'. IndieWire. Retrieved May 6, 2019.
7. ^Nelson, Alex (May 2, 2019). 'Bob Dylan – Rolling Thunder: Netflix release date revealed, and everything else about the new Martin Scorsese documentary'. i. Retrieved May 6, 2019.
8. ^Goodman, Stephanie (June 26, 2019). 'The Best Films of 2019 (So Far)'. The New York Times. ISSN0362-4331. Retrieved August 8, 2019.
9. ^Goodman, Stephanie (June 26, 2019). 'The Best Films of 2019 (So Far)'. The New York Times. ISSN0362-4331. Retrieved August 8, 2019.

External links[edit]

• Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese on IMDb

For reasons unknown, Sony decided not to release expanded editions of “The Freewheelin’ Bob Dylan,” “The Times They Are a-Changin’,” and “Another Side of Bob Dylan,” in 2012, 2013, and 2014.In those years, Sony was required to “officially” release any unreleased material that they wanted copyright ownership of in Europe, prior to that material turning 50 years old. If they didn’t release it, it would become public domain.To meet this requirement, they released something like 100 vinyl boxed sets of studio outtakes and live recordings from each year. These did not in any way attempt to curate the material or to weave it together with outtakes or live material that had been previously released somewhere at some time.

The only consideration was to publish previously unreleased material. Nonetheless, it meant that everything remaining in the vault was finally available in high fidelity.For 1965-1966, Sony got wise and released three different versions of “The Cutting Edge,” ranging from two discs of studio outtakes from that period to a massive box including everything that was recorded during the sessions for the three relevant albums.

It was the “copyright box” for 1965-1966, but it also included the previously-released material from those sessions.So there is still no canonical set of studio outtake companions to Bob Dylan’s official releases prior to 1965. That’s what the mixes here attempt to provide: the best general audience-through-semi-fanatic companion albums I can engineer, pulling from every official release there is, volume-equalizing it all, and assembling it into coherent listening experiences.

Each of the three companions parallels the recording dates of their respective albums.They aren't complete, but they go deep enough that when I couldn't choose between two versions of a song, I included them both. With very few exceptions, my omissions were more takes of the same songs.Hopefully, Sony won’t smack me down too hard for sharing these, since they have shown no interest in a general releases of this sort. The “Freewheelin’” sessions were the only one these three albums’ sessions that required me to omit a significant amount of material. They went on for a year and produced many takes of some songs.

If you’re a completest, these won’t satisfy you, but if you’re a mid-level maniac, you’ll be pleased.The first disc focuses on Dylan’s aborted, early rock and roll and rural blues impulses, along with his early batch of protest songs named for individuals. The second disc focuses on Dylan’s emerging songwriting and crooning chops. Glad you're still poking around here. In answer to your question, everything (or nearly everything) on this compilations that does not include a source abbreviation in the song title tag (e.g. BS1-3, Biograph, Witmark, etc.) IS from the year's copyright box. I'd say that all three of them are worth tracking down, but not worth spending a fortune buying in the original. In terms of the 1964, there's very little in the way of studio material that I did not include on this mix, but there's good live stuff beyond what I've included.